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 chassis," which bears her with such smooth speed up Riverside Drive. She will have no American literature of the "classical period" in her library; for the New England worthies who produced it wrote before the public of which she is a part began to read or to be noticed in books. The jeune fille, though a votary of physical form, feels within herself an exhilarating chaos, a fluent welter, which Lowell and Longfellow and James and Howells do not, but which her writers must, express.

Therefore, she revels in the English paradoxers and mountebanks, the Scandinavian misanthropes, the German egomaniacs, and, above all, in the later Russian novelists, crazy with war, taxes, hunger, anarchy, vodka, and German philosophy. She does enjoy, however, the posthumous pessimism of Mark Twain—it is "so strong and virile"; and she relishes his pilot oaths—they are "so sincere and unconventional." She savors Mr. Masters' hard little naturalistic sketches of "passion" on Michigan Boulevard; they remind her of her brother. Sherwood Anderson has a place on her shelves; for by the note of revolt in Winesburg, Ohio she recognizes one of her own spirit's deserted villages. Lured by a primitive instinct to the sound of animals roving, she ventures a curious foot into the fringes of the Dreiserian wilderness vast and drear; and barbaric impulses in her blood "answer the wail of the forest." She is not much "intrigued" by the frosty fragilities of imagist verse; but at Sandburg's viking